With so much to consider, rather than get into the specifics
of all the forces and particles involved in the course of evolution as I have
envisioned it, I’ve preferred to keep to the general principles so that the
process is as easy to visualize as possible. And the one thing I’ve needed to
emphasize is the role that Harmonic Alignment and Dynamic Stability
play in the process. But the reason Harmonic Alignment works at all is
because there are certain frequencies for which the Universe seems to have been
pre-designed. And these frequencies are harmonics of four fundamental
frequencies of universal oscillation. They are the frequencies responsible
for the Four Pathways to Light and Truth, and are the guiding forces for
everything we’ve studied in this work. Whether they’ve manifested in the
Physical Realm as the four forces in nature, the four seasons, the four energy
fields and ancient elements, the four philosophical functions, the four noble
truths, or the four whatever, they all have their origin in the Four Frequencies
of God.

And whenever I’ve made a claim to the existence of any
Spiritual Law, I’ve tried to substantiate it with its tangible reflection. The
fact that the Universe seems to be tuned to four fundamental frequencies is one
that the Ancient Egyptians apparently understood. A fascinating book was written
by Christopher Dunn on his research into the technologies of Ancient Egypt
hidden among the mysteries of the Great Pyramid. Called The Giza Power
Plant, it includes Chris’ own discoveries, as well as some earlier
research. A quote from Boris Said, a member of Tom Danley’s team, which did
acoustic analysis within the King’s chamber, is illuminating:

Subsequent experiments conducted by Tom Danley in the
King's Chamber of the Great Pyramid and in Chambers above the King's Chamber
suggest that the pyramid was constructed with a sonic purpose. Danley
identifies four resident frequencies, or notes, that are enhanced by the
structure of the pyramid, and by the materials used in its construction. The
notes from [sic] an F Sharp chord, which according to ancient Egyptian texts
were the harmonic of our planet. Moreover, Danley's tests show that these
frequencies are present in the King's Chamber even when no sounds are being
produced. They are there in frequencies that range from 16 Hertz down to 1/2
Hertz, well below the range of human hearing. According to Danley, these
vibrations are caused by the wind blowing across the ends of the so-called
shafts – in the same way as sounds are created when one blows across the top
of a bottle.

[This quote is footnoted as having being from Said’s web
site: http://www.lauralee. com/said.htm]

So, the Great Pyramid of Giza was built with the Principle
of Harmonic Alignment in mind! And its frequencies are sub-sonic, all the
way down to ½ hertz. There is no doubt in my mind how that could serve to
harmonically couple the pyramid to the Universe’s, and the Earth’s, sonic
glue. Now, I don’t mean to imply that every celestial body in the Universe is
tuned to F#. Specific frequencies are relative to the body involved. Only the Principle
of Harmonic Alignment is absolute throughout the Universe. But F# is the
resonant chord for the Earth, a fact apparently intrinsic to ancient wisdom in a
diversity of cultures. Mr. Said produced a documentary video on the Giza
Plateau, and the web site also notes:

Included in the program is a meeting with a Native American
maker of sacred flutes from Oregon. His flutes, which are made to serenade
Mother Earth, are tuned to the key of F Sharp!

[Ibid.]

Of course, the exact notes in the chord would be significant,
especially when one considers how the four frequencies would need to maintain
the balance between Order and Chaos for both harmonic and non-harmonic
conditions, as we earlier explored. But, as Said’s web site points out, the
information Danley may have on the matter is currently tied up in a legal
battle. However, Chris Dunn’s own research can afford us a clue to narrow it
down:

Without confirmation that the granite beams were carefully
tuned to respond to a precise frequency, I will infer that such a condition
exists in light of what is found in the area. While I have not found any
specific record of anyone striking the beams above the King's Chamber and
measuring their resonant frequencies, there has been quite a lot written about
the resonating qualities of the coffer inside the chamber itself. The coffer
is said to resonate at 438 hertz and is at resonance with the resonant
frequency of the chamber. This is easily tested and has been noted by numerous
visitors to the Great Pyramid, including myself.

[http://www.gizapyramid.com/chrisdunn.htm]

438 hertz is within the tuning range for A natural. Chris
himself measured 439 and 440 for different samples of sound he recorded in the
pyramid, 440 being the most common tuning for A. In the context of F#, this
would produce an F# minor chord, assuming the third note is a consonant perfect
fifth, and not a dissonant diminished – or flatted – fifth. Given the
Universe’s need to seek Order over Chaos, I’d go with this assumption and
call the third note C#. The key to resolving how the Universe would accomplish Dynamic
Stability through Harmonic Alignment lies in the fourth note.
Briefly, here’s why. Let’s assume we only have to account for the 12 tones
between octaves of the tempered scale, and not the 70 of the chromatic, as was
pointed out in Footnote 149, p. 368! The tempered scale is sufficient to
create beats. Actually, as we learned in the section devoted to it, all it takes
is a few cycles difference between two notes. These produce slow beats. But even
in a tempered scale, faster beats will occur between adjacent, half-step tones.
Now, realize that while the F# chord being considered has four tones with a
harmonic relationship to each other – with F# as the fundamental, or First
Harmonic – each note in the chord is its own First Harmonic in the Theory
of Harmonic Creation. Thus, each fundamental can, through harmonics,
manifest its own seven tone major scale (the eighth is the octave):

A key is a family of seven related tones. These tones are
all derived from one tone, the head of the family, called the Key-tone.
If a vibrating string gives the pitch C, and we wish to find a tone most
nearly related in vibration, but differing in pitch, we would first divide the
string into halves and set either half in vibration. Either segment vibrates
twice as fast and gives the pitch C, one octave higher. Next try dividing the
string C into thirds, and set the two-thirds or longer segment into vibration.
This gives the pitch G, or the fifth tone above C. This fifth tone is the most
nearly related tone, differing in pitch, to the fundamental. In the same way
the next nearest related tone will be two-thirds of G, or a fifth above G,
which is D; the next, a fifth above D, which is A; the next, a fifth above E,
or B.

Conversely, if D is two-thirds of G, and G two-thirds of C,
C must be two-thirds of a tone a fifth below, or the tone F. We now have seven
different pitches all derived from C, and therefore related to C. These
pitches constitute the Key of C. C is the Key-tone.

When the seven pitches are arranged in a progressive order,
C D E F G A B C, they form a Major Scale.

Interesting how dividing a string by two will produce its
higher octave, but dividing it by three will produce a relative pitch. To get
back to our chord, when you account for the notes in the major scales the first
three tones can generate, you can cover all but one note in the 12 tone tempered
scale. Now, whether the triad is F# major or minor will change which that lonely
note is; but for an F# minor, that note is G. How can we generate it from the
seven-tone major scale in the key of F#? Let’s look at the notes we’ve yet
to use. G# will do it. G is its major seventh. But G# in an F# minor chord is
dissonant to A, the minor third. A#, the major third, will do it, too. But we’ve
already ascertained this to be a minor chord, and playing the major third with
the minor third is likewise dissonant. Of the remaining three, B, the fourth to
F#, doesn’t have G in its major scale. The only ones that will generate G in
its own major scale when applied as the fundamental are D# and F. F is a major
seventh to F#, which is quite beautiful against a major triad, but not nearly so
against a minor one. However, D# is the sixth to F#, and against a minor chord
you’d have an F# minor sixth. That’s musical. And it would provide all the
notes the Universe would need to create beats in a tempered scale customized for
Earth. So, that’s where I’d put my bet. I hope some day to learn if it’s
win, place, or show!

Now, in case you think I’m implying the Universe needs only
twelve tones to satisfy Dynamic Stability for the diverse number of
particles and forces it contains, guess again. I only mentioned this phenomenon
re the Giza Pyramid to show how its ancient wisdom reflects the Theory of
Harmonic Creation, and how four fundamental frequencies can generate
harmonics to accomplish Harmonic Alignment. The 12 tone tempered scale is
easily visualized as an evolutionary step from the initial four frequencies, and
we already know how powerful the number 12 is in the Big Picture. But,
the Universe would certainly need the diversity of tones available in the
chromatic scale, if not many more, to accomplish Dynamic Stability with
the particles and forces manifested at the Big Bang, and ever since.

Before I continue, Watson, I realize you are probably tired
of hearing me tell you how some person or thing appeared in my life just in the
nick of time. But I wish to share with you amazing information that came to me
literally within days of completing the rewrites to the Second Digital
Edition of this book. I didn’t ask for it. It was sent to me by Chris Dunn
as a result of an email correspondence relating to his research. He suggested I
do a web search for Susan Alexjander. I did.

Ms. Alexjander is an internationally known musical artist
who, in collaboration with Dr. David W. Deamer, professor of Chemistry and
Biochemistry at the University of California, Santa Cruz, recorded something
quite remarkable. The music of DNA! Rather than explain what they did, it is
best to let their words speak for themselves; and I’m grateful for the
opportunity to present them. The following are excerpts from her article, The
Infrared Frequencies of DNA Bases, as Science and Art:

In 1988 the author and biologist Dr. David Deamer
collaborated on a science/art project which consisted of measuring the
vibrational frequencies of the four DNA base molecules, translating them into
‘sound,’ programming them into a Yamaha synthesizer and using this tuning
system as the basis for original compositions entitled Sequencia (1990
and '94 CD). The realization of biological, infrared frequencies into sound
has resulted in unusual insights into the harmonic fabric of DNA, and
reactions from listeners suggest that our bodies may have a way of recognizing
their own electromagnetic patterns through the resonance of tone. . . .

One significant constraint with this project required that,
rather than ‘mapping,’ or assigning arbitrary pitches to ‘hear’
patterns, the actual vibrational frequencies were to be collected directly
from the molecular realm. These frequencies would then be arranged as ‘scales’
of tones, and used as the basis for musical composition. . . .

There are about three billion base pairs in the DNA of each
human cell. If they were strung out they would measure about three feet long.
Yet each of these bases remains absolutely consistent in its chemical makeup.
The four DNA bases, adenine, cytosine, guanine and thymine, consist each of
carbon, hydrogen, oxygen and nitrogen. There exists a variety of chemical
structures, including C=O, N-H, C-H, O-H, and C-O whose bonds bend, stretch,
and rock upon absorbing infrared light with a specific frequency related to
the energy and strength of the bond and the mass of the nucleus of the atom. .
. . The tuning system for Sequencia was derived directly from the
laboratory chemistry of the four bases, and had nothing to do with a
particular gene, or configuration of bases along a helix. . . .

. . . The bases of DNA and RNA have certain resonance
frequencies related to the absorption of infrared light. This is a common
property of all organic molecules, and in fact infrared spectra are used as a
primary diagnostic characteristic in analytical procedures.

As the light is passed through the sample, it is absorbed
by the sample at specific frequencies and the instrument plots the absorption
bands as a spectrum. . . .

The problem of getting the frequencies within hearing range
can be solved by recognizing that any hertz number divided in half or doubled
will produce its corresponding lower or upper octave, respectively, whether it
be sound or light. Thus, 8.7 x 1013 Hz can be divided in half, again and
again, to create lower and lower octaves. Finally we derive, after dividing 36
times, a workable frequency which, if it were sound, would fall within the
range of hearing. Thus we would have for the example above 1266, which is a
very comfortable frequency for the ear, corresponding to a (slightly sharp)
D#.

The question of ‘translating’ light into sound is more
a philosophical one. Sound sped up can of course never be light, since the
former depends upon molecules to push around while the second derives from
electromagnetic radiation. One could argue that what is important here is not
so much the medium but the ratios involved; the relationships between
frequencies. . . . By discovering patterns of ratios in light, we are simply
translating into a sound medium to "hear" what information they
might contain and how they relate to each other. It could also be argued that
both light and sound refer back to a common archetype which, as yet, is
unknown to us, not unlike cousins who relate back to a common relative.

Again, four base molecules were measured: adenine,
cytosine, guanine and thymine. Each base molecule after being subjected to
light yielded about 15 or 18 frequencies; 60 in all. Once this data was
collected, it was iterized down into a hearing range and programmed into a
Yamaha DX7 IID synthesizer which would create sound banks from any hertz
numbers provided as input. A special electronic keyboard was needed because
the tunings that were derived were almost all microtones, or tones smaller
than a normal half-step (for instance any c to c#) on a piano. . . .

The four individual bases – adenine, cytosine, guanine
and thymine – are very similar in terms of the ratio relationships, or the
distances between the separate ‘pitches’ within each base. If they are
configured like a musical scale, arranged from lowest frequency to the
highest, there is about a 2 and l/2 octave span for all four with a noticeable
gap, or distance, of a Major 6th/minor 7th in all bases. Intervals on the
keyboard are named major and minor seconds, thirds, sixths, and sevenths,
depending on how many steps they are away from the beginning note, or tonic. .
. .

In addition to difficulty of tone production, microtones
play havoc with the idea of ‘key,’ or tonality. What one is working with
is a clump of 'random' sounds with no seeming tone order or organization at
all. However, something very interesting began to happen. After weeks and
weeks of experimenting with different sound combinations on the synthesizer, a
tonal center began to emerge. One pitch seemed to draw other pitches to it –
to lend coherency to the mass. This pitch turned out to be a kind of a C#,
common to all the bases. . . .

. . . If one looks at the pitch chart [Fig. 2 in the
original article, unavailable at the below referenced source] one can see that
this C# is found in all four bases almost exactly in the middle of each
column. Also, it is positioned almost exactly in the center of the absorbency
rates, and shows up as the average. This C# seems to act as a balancer for the
entire spectrum of frequencies.

The pitch which shows up the most frequently and ought to
have asserted itself as a tonic, or tonal center, is F#. It is found no less
than three times in each base collection. But instead it is its fifth, the C#,
which acts as the organizing force. . . .

Are The Frequencies in DNA Bases Harmonically Ordered? They
most certainly are. By comparing all 60 pitches one can find all of the
precise ratios found in the first 16 harmonics of the overtone series:
octaves, P5th, P4ths, Major and minor thirds, Major and minor 2nds and 7ths;
even a ‘flat’ seventh. Mathematically, the odds of this happening at
random are almost non-existent.

It is not known what information is encoded in these
ratios, but one particular pattern appears striking. Figure #3 [again, only in
the original article] shows a curious leap in all four bases from the pitch F#
up to the D# above, roughly a Major 6th/minor 7th. The interval in-between, G
to D, contains no measurable frequencies at all. Its mirror, the G to D an
octave below, contains a tightly packed cluster of 22 frequencies, over a
third of the total frequencies measured.

What is the function of this ‘shadow’ gap? Is it just a
coincidence, or are we looking into some kind of anti-matter, fourth
dimension? More and more we are finding that things contain their complements;
their opposites. It is almost a given ‘law’ of the universe. This ‘gap’
could be important, especially because both are balanced on their lower and
upper edges by D#-F# intervals: nine pitches in the lower cluster and 10
pitches in the upper cluster. Almost perfect symmetry.

Again, MATH makes processes visible. It decodes meanings.
We can see the self-organizing power of the universe, and because the universe
is a community it is constantly communicating. Are the sounds of DNA
communicating anything to us?

Sequencia first begins to communicate through its
concept, that we can hear the hidden beauty of life. This helps to give us a
perspective – to find our place in the "Great Tone." . . .

. . . These particular DNA ratios, originating in light,
are profoundly arresting to the ear. This first wakes up the nervous system,
puts it on alert. What follows in sound is then allowed to enter our psyches
on a deep level. People report feelings of connectedness, familiarity. "I
feel right at home," they say. It is tempting to speculate that the body
is recognizing itself, and is communicating this to the psyche.

[http://www.healingmusic.org/SusanA/infraredfreq.html]

I had been quite excited when I learned of the four
fundamental frequencies in the Great Pyramid, but this blew me away. I
inherently understood the structural nature of DNA as it applied to the Quadralitic
Grids, but was unaware of its harmonic nature. I should have intuitively
realized this, since all structure has resonant characteristics, and when those
aren’t properly accounted for, either in nature or by us, destruction is the
result. A little later we’ll talk of the Tacoma Narrows Bridge disaster, a
benchmark example of such. Yet, this information took me by surprise. I had
allowed myself to be blinded by the very law I spoke of in the "Spiritual
Appendix" of the

THIRD VERSE,
where I commented that you won’t find what you’re not looking for because
your Mind’s eye won’t see it. I had seen what I needed to see and didn’t
look to see if there was any more to see! Well, I saw it now, and more than I
would have seen then because my own knowledge had since grown. Let’s cover the
article’s key points (double entendre intended), and add our own in
brackets.

Ms. Alexjander and Dr. Deamer set out to create music from
DNA, not through arbitrary assignments, but from the actual molecular
frequencies. As light was passed through the various samples, frequency spectra
were generated that related to the energy and strength of the bonds and the mass
of the nucleus of the atoms. This is a common property of all organic molecules.
[It was established in the Theory of Harmonic Creation that the
frequencies inherent in the forces and masses generated after the Big Bang would
allow Dynamic Stability to occur through Harmonic Alignment.]

By using the property of frequency division, the very high
frequencies associated with light absorption spectra could be resolved to the
lowest frequencies of sound. It was not a direct equating of light to sound, but
more a translation of information based on the understanding that all waves are
related to a common archetype through the phenomenon of frequencies. [It’s
been clearly established that the information needed for the Law of Universal
Use was frequency related. And the ability to gather and respond to that
information can be found in our paradigm for creation, which from Moment
One established relationships between all waveforms, no matter what their
frequency range or means of transmission – the Quadralitic Cube.]

Each base yielded about 15 frequencies, 60 in all, over a 2½
octave span, and all are very similar in terms of ratio relationships. Moreover,
all manifested a tonal center around C#, which seemed to act as a balancer [sic]
for the entire spectrum of frequencies. This was in spite of the fact that the
most frequent pitch was F#, to which C# is the fifth. [So, the Universe
apparently does need frequency specialization on the order of the microtonal
(less than half-step) scale used in Sequencia, to accomplish Dynamic
Stability. But even more significantly, the frequencies of DNA have a
balancing center that acts as its organizing force. And the note she discovered
to be such is the third one we assigned within the Pyramid. If we now allow the
F# at each end of an octave to represent tonal extremes, C# serves as their
means, especially with the C# average being a 1/4 tone flat, as pointed out in
the article. And this seems to reflect the phenomenon science has yet to be able
to account for, why the Universe appears to be so precisely tuned between Order
and Chaos. Naturally, all this is in accord with the Principle of Balance
and the Law of Order. C# is not exactly midway between octaves. C, the
tritone, is. But C# is harmonically consonant; and having it as the organizing
force would indicate that while the Universe has to account for both Order and
Chaos, it obviously favors the former. Moreover, it must not be missed that
regardless of which frequencies DNA on some other planet may resonate to, on
this one it resonates to the same root as the home from which it was born. And
how that relates to my original theory surrounding the origin of the Four
Pathways to Light and Truth should be very clear!]

Finally, the authors note that the frequencies in DNA bases
are most certainly ordered, and within the 60 pitches can be found the precise
ratios in the first 16 harmonics of the overtone series. As they say, the
mathematical odds of this happening at random are almost nonexistent. They also
explain that all bases contain what they describe as a shadow gap. While they
are not sure what the function of it might be, they feel it is important because
both upper and lower edges are balanced in a way that reflects almost perfect
symmetry.

We have likewise maintained that there are no accidents in
a perfect Universe. But to resolve the issue of a shadow gap deserves more
attention than a few bracketed comments would provide. When I first read of the
shadow gap, I made an assumption that it was a repeating phenomenon, and thus
drew a conclusion based on it. Without the original illustrations to guide me,
which were unavailable on the web site, my own imagination had led me astray.
This is understandable. I didn’t even know if the 2½ octave spans containing
the four bases’ harmonics were tangential or concentric, or perhaps overlapped
in some way. So, I emailed Ms. Alexjander about getting them, and she was kind
enough to send me a copy of the original magazine article. It was a revelation.

Two illustrations were particularly riveting. Fig. 2 in her
article included all the harmonic data for the four bases – the wave numbers
for their infrared spectra with corresponding frequencies and pitches. This
showed how often particular pitches appeared. Fig. 3 placed those pitches onto a
keyboard diagram so the note clusters, or lack of them, were obvious. The four
spans lined up concentrically, and with remarkable precision. The shadow gap was
striking, but more importantly to me was seeing the long grouping of frequencies
below it. Beginning at the low end, with an average pitch of D#, was a peppering
of microtonal frequencies covering more than an octave, ending at an average
pitch of F#. Within that range, only A# on the keyboard’s tempered scale wasn’t
hit dead on, a curious phenomenon we’ll address in a moment. Still, with the
abundance of pitches in that span, it was very clear that the Great Pyramid’s
four fundamental frequencies had been microtonally reflected. This is what one
would expect as energy evolves from general to specific. Plus, it allows the
Universe to adjust resonant frequencies away from natural frequencies –
precisely fine-tuning itself to accomplish growth through Dynamic Stability
while avoiding Tacoma-like conditions. Thus, it makes sense when frequency
clusters average slightly flat or sharp of a fundamental. And when you think
about it, the extent to which these frequencies were covered is actually quite
remarkable. After all, the bases of DNA, though essential to life, are only a
few soldiers in the army of existence that the Universe has to keep in balance.

The next thing that grabbed me, though, was what appeared
above the shadow gap. There were two tight clusters of notes. At the very top
was a cluster with an average pitch that looked slightly flat from F#. Below
that was a second cluster with an average pitch approximating D#! There it was,
the note that just pages ago I had derived as the fourth note of the Pyramid!
Its appearance at the bottom of the main cluster had been no accident, just as
neither had been the F# at its top. In fact, D# had been so strongly represented
overall in the data that it would almost give the appearance of another root. I
actually think it is, and that's why D# and F# are harmonically powerful enough
to be alone in the octave above the gap.

So, what does this tell us about the truth we’ve been so
ardently searching? A lot! Consider first how the gap at the top of that large
region, before the D# and F# concentration at the highest end, focuses on the
nature of the fundamentals involved, literally drawing your attention to the two
above it. Also recall how we derived the four notes. F# is given as the root in
the Great Pyramid, as well as in the DNA bases. A is in the Pyramid’s coffer,
and is tonally represented in three bases. Ms. Alexjander noted the significance
of C# in DNA, and while I can't say for sure it is one of the missing Pyramid
frequencies, I'm strongly inclined to believe it is and expressed my reasons for
it earlier. The only note truly in question then was the fourth, about which my
intuition now has clearly been confirmed.

Thus, I think that the four frequencies in the Great Pyramid
are indeed F#, A, C#, and D#. Since my theory sees all human consciousness as
being rooted in four fundamental frequencies, it makes sense that all four would
be in DNA. But, now consider the chord: F#m6 if F# is the root, a musically
minor chord that would be considered consonant, but barely so on its side of the
balance between Consonance and Dissonance. Next, take those same notes and apply
D# as the root: D#dim(b7), a half-diminished chord that is still musical
though it would be considered dissonant, but barely so on its side of the same
balance between Consonance and Dissonance! Talk about symmetry. Differing only
in note order, you would have a difficult time distinguishing them by ear except
through an emphasis placed on their root-tone or the arrangements that accompany
them. But even more significant is the fact that with the same four fundamental
tones, the Universe would have all it would need to balance Consonance with
Dissonance, the musical reflection of Order and Chaos! Neither would be so
overbearing in either direction as to throw the two out of balance.

The relevance of this to the Universe's creation, from the
perspective of Harmonic Creation, is powerful enough. Now, let’s take
it even further. We’ve established how C# serves as the means for the F#
octave, and thus as the balancing center for the F#m6 chord. But, what about the
D#dim(b7)? The only note we’ve yet to use from the Pyramid is A, and A
happens to be the tritone, or algebraic mean for the D# octave! So, A serves as
the balancing center for the D#dim(b7). Now we have two chords comprised
of the same four notes, where two of those notes, the roots, serve as the
extremes of their octave, and the other two, the balancing centers, serve as
their means. The Universe needs both chords, and both balancing centers. After
all, there are two extremes that must be kept in balance, and two means where
that occurs – a perfect Quadrality. To do so, it makes no value judgements
about Consonance and Dissonance. To the Universe, it's all energy, and it's all
good. Consonance and Dissonance, just like Order and Chaos, both serve a
purpose.

While all this doesn’t directly address the reason for the
existence of the shadow gap, or the smaller one between the two clusters above
it, I won’t let it go unanswered. To begin, I don’t think it is a result of
an antimatter phenomenon, as antiparticles have the same mass as their
corresponding particles but with opposite electric charges or other properties
related to electromagnetism. Thus, the phase reversal of a given frequency of
matter should be involved – reflecting the reversal of magnetic moment even in
a charge-less neutron. But since frequency is mass related, and the mass of
antimatter is the same as the matter it’s in opposition to, you wouldn’t
find a range of frequencies specifically reserved for it. Phase reversal in the
same direction would cause complete destructive interference in the resultant.
But in opposite directions it would provide for the tangible standing waves that
guide and power manifestation through Harmonic Alignment, and their mass
interaction would provide for the new particles with new frequencies needed for Dynamic
Stability.

I feel these gaps are more a result of a comment I made
moments ago, that the Universe has a whole army of existence to keep in balance.
Admittedly, without corroboration this is obviously conjecture; but I’d say
there are other things in the Universe with frequencies residing there that, if
DNA were to have the same natural frequencies, would cause its structure to be
in jeopardy. Remember, the organic has to coexist with the inorganic. This, I
believe, is why the gaps appear. Of course, you might then wonder how the F# and
D# clusters above the shadow gap would not also be in conflict. As the roots of
the two chords, they serve as harmonic anchors for all Tangibility and must
harmonically align with whatever else may be in residence, in such a way as to
afford their peaceful coexistence. But this is one mystery of the Universe whose
answer may never be fully revealed. You would have to account for everything
that is! And with all the tightly packed microtones in DNA alone, one can only
imagine the diversity of beats that are being generated.

Speaking of gaps, there is a subtle one that appears in the
main grouping of frequencies from D# to F#. Since you don’t have the benefit
of the illustrations in front of you, I’ll do my best to describe them. If you
add up all the microtones in Fig. 2 within that span, there are 57. (73 total
frequencies are in Fig. 2. All don’t appear to be included in Fig. 3., though
the omissions may be for clarity in illustration.) Since there are 16 tempered
pitches in the span, that averages just over 3½ microtones per pitch. And yet,
as I earlier said, none hit A# exactly. It’s not even listed as a pitch in
Fig. 2. What I find particularly curious about this, though, is that the
algebraic mean between the D# and F# extremes of the large cluster is midway
between A# and B. And if you take the time to average out the 57 microtones, the
harmonic mean is just sharp of that midpoint, at B. Yet, only seven microtones
are found in the three tempered pitches from A# to C, where, based on the
average, you’d expect 10½! What does this mean? Again, I can only speculate,
but there seems to be a paucity of frequencies that would indicate the node, or
balancing center, for the Spiritual and Physical Realms symbolized by the
portions of the main cluster on either side. And that node is nestled between
the mean of A below it and the C# mean above it. Moreover, that node is
reflected in the gap between the two clusters above the shadow gap, as if to
even more clearly differentiate the Spiritual and Physical Realms as a Root
Duality. Now, I realize it may seem like I’m going out of my way to make
things fit. But that is only because there is no description I could give,
considering the odds of any of this occurring at all, that would adequately
describe the perfection that leaps out at you when you see it, as well as the
obvious truths it reveals. As the frequencies of DNA have shown, the Soul of the
Universe – its Wisdom – is musical. And their respect for the truth of
separation in structure is likewise clear. Yet, there is another truth in
DNA, the truth of interaction, that the inhabitants of Ancient Egypt
obviously understood as they aligned the corners of their Great Pyramid with the
Planetary Energy Fields. Only by uniting the four forces through a common higher
purpose can the true power in the Universe be revealed – the Heart of the
Universe – its Love. That’s what makes the mathematics in music beautiful to
listen to. This is the core lesson the inhabitants of Earth desperately need to
learn today. And it is the essence of Meishu-sama’s Izunome Principle.

With the Earth’s four fundamental frequencies apparently
revealed, a question immediately comes to mind re the original appearance of the
Principle of Harmonic Alignment – the derivation of the Four
Pathways to Light and Truth. How might we now assign those notes to the four
paths? That’s a great question, and one I’m quite frankly unprepared to
answer for sure, though not because I wouldn’t like to. I simply don’t know.
Still, as you recall, I don’t avoid an issue. So, this is how I see it. My
inclination is to associate the previous chord roots with separate Root Planes.
And given that they reflect the balance of Order and Chaos, I’d tend to place
F# on the Horizontal, Spiritual Plane, and D# on the Vertical, Physical Plane.
But to arrive at the placement of paths on each plane requires a bit more
spiritual insight. Realize what F# and D# are. Not only are they separately the
extremes for their own octaves, but together they’re the extremes of a
universal range of values. This is clearly evidenced by their placement at each
end of the large span of DNA frequencies. Thus, I’m inclined to associate F#
with the Spiritual path on the Spiritual Plane, and D# with the Physical path on
the Physical Plane. Placed this way as energetic extremes, what then happens to
their means: the C# in balance to F# as its fifth, and the A in balance to D# as
its tritone? Rather than the same plane, I’d place them on the other! For, it
is only through the interaction of its two Models that the Universe can exist.
And this alignment, when referenced to the Physical Order of Energies,
would place F#, C#, A and D# exactly as they are in the Universe’s physical
span of frequencies, high to low! This feels right to me, but like I said, I can’t
positively say. Still, there is something inherently musical in this arrangement
that would seem to give the Universe the ability to handle both harmonic and
non-harmonic conditions, with the first being the focus of the Spiritual Realm,
and the second, the focus of the Physical Realm. And this is much like the
chords themselves, a consonant fifth and a dissonant tritone.

But there is one additional, and quite intriguing, musical
association I can speak of with confidence. We’re dealing with two chords
derived from the same four notes, one chord being a minor, and the other,
diminished. But both are in harmony to their absolute frame of reference, the F#
major scale. However, the roots themselves have a special relative relationship
in that context. We’ve considered the notes in the F# major scale, and from
them drew conclusions as to the four fundamental tones in the Great Pyramid. We
then found a powerful corroboration in the harmonics of DNA. We also then came
to realize that these four tones had a dual-chordal relationship, one based on
F# as its root, the other on D#. But specific notes aside, there is a
fundamental key relationship in all major scales. Every major key has its
relative minor key. It contains the same notes as the major key and is
identified by the same key signature. Only the root changes. The root of the
relative minor key is found at the interval of a sixth above the major. For the
key of F#, the relative minor is D#! Can there be any doubt now about the
physical perfection that exists throughout the Universe, or the Spiritual
Perfection that created it? Not for me.

Ms. Alexjander comments how the music of DNA may help us to
find our place in the "Great Tone," an expression she credits to Dr.
Larry Dossey. We’ve referred to it as many things: Unity, the First Harmonic,
AUM. Now we can add "The Great Tone" to the multitude of ways Humanity
has found to describe God. And her thought that the body is perhaps recognizing
itself, expresses the profound connection all Tangibility has to the Body of God
that the Universe is. Still, what is perhaps most revealing for me in the
article, aside from the science and how it applies to the Theory of Harmonic
Creation, are Susan’s reasons for doing it at all:

Pythagorus (6th C BC), who is credited with
explaining musical harmonics to the Western world, is reputed to have
described a stone as frozen music. He knew nothing of physics but intuited
that the mathematics of frequency which occur in processes such as planetary
rotations, cycles of the seasons, right down to the atomic world of elemental
matter, are not just lifeless pieces of data but reveal movements, rhythms,
relationships and meanings which may be loosely translated as ‘stories.’
Stories in turn generate meanings and artistic expression. The word 'mathema'
comes from the Old French ‘mathein,’ "to be aware; to awaken."

The art, then, assists in 'telling the story' of the data.
It is mythic as well as ‘mathic.’ There is a reasonable degree of
certainty that deep within our molecular beings, beauty will show up as a
central issue. It can be found in all other stellar, planetary and natural
processes, in the growth of a flower or wanderings of a river; why not DNA? At
another level, if the body recognized itself in sound, might this mean
something in terms of health, or at the very least, inspire the imagination,
and help to understand our adaptation to the environment, or to persistent
stimuli. . . .

The story that presents itself as one works with the
spectral tones of DNA is one of underlying beauty and order – an order
suggesting freedom to express and improvise within the matrix. The fact that
perfect harmonic ratios exist within its frequency data could, and should,
lead to further stories of interconnectedness with the rest of life and the
universe, since so much of our world is so ordered. We express creatively
through harmonic proportions and their variations in our music, our
architecture, paintings, dance – in virtually all that we are and do down to
the design of a pack of cards, using the Golden Rectangle (whose sides have a
phi relationship).

Certainly the freedom to express and improvise has been our
salvation as a species for thousands of years. Our music has always reflected
these two things: a love for order and spontaneity. DNA, the chemistry of
life, seems naturally at home in a musical venue. For in our inner beings and
in our listening there has always been a deep yearning; a knowingness that
music is who we are.

[Ibid.]

I could not agree more.

The association of frequencies with the microcosmic base
components of DNA points to a fertile area of research – the frequencies of
macrocosmic genetic structure. Since the frequencies of all species’
microcosmic genetic components are the same, it’s in the genetic macrocosm
that the frequencies of different species would become manifest. This is the
context in which the extreme evolutionary changes we spoke of much earlier could
appear. It is clear the frequencies of the Earth and the bases of DNA are
harmonically connected. And it should be self-evident that those frequencies
have remained unchanged. But all earthly life, and the great planet it evolves
on, exists in the context of the Universe’s own energy. And it is likewise
clear that the macrocosmically homogeneous energy of the Universe, subject to
universal laws, varies in its exact frequency content as you travel through the
specific regions of it. It is this variation in vibration that actually provides
the Universe with the information it needs to maintain Dynamic Stability
through Harmonic Alignment.

So consider, then, how vibratory changes might affect any of
the myriad life forms capable of responding and aligning to them through
harmonics. Given the previous paragraph’s disclosure, it is obvious that our
planet, along with the solar system, galaxy, and supercluster it’s a part of,
has been exposed to vibratory changes throughout its existence. Yet, certain
aspects of organic structure, the base components, have remained unchanged.
These are the ones apparently connected to the fixed frequencies of the Earth
(fixed at least as long as life has been on it). However, the macrocosmic
structures of DNA, as they relate to species, certainly have changed; though, as
we earlier learned, those changes are not as extreme as one would expect
considering the immense variations in life. These are the changes connected to
the variable frequencies of the Universe the Earth travels through.

And I think it is reasonable to draw a conclusion regarding
the appearance of a large-scale genetic change, which seems to fall beyond the
possibility of small-scale mutations, and a change in the resident vibrational
environment. What makes this particularly relevant today is that there are some
people, with a professed ability to intuit or perceive such things, who feel our
solar system is beginning to enter a region of the Universe with a higher
vibration. While this is admittedly speculative, as I’ve heard of confirming
research but have yet to see published concrete evidence, the thought of how it
might affect life on Earth is intriguing. Could such an event 50,000 or so years
ago have been responsible for the evolutionary leap in consciousness as
evidenced by the sudden appearance of a mind with creative capability? After
several million years, with the birth of an imagination Homo Erectus had become
human. Imagine what such a comparable leap might involve today!

Now consider why it is happening. In discussing the
connection between Soul and DNA, on p. 268 I said: "With Science and
Religion seen less and less in conflict, the quantum leap from whatever came
before Humanity as we know it, to what it is now, is within evolutionary
possibility. Minute genetic changes, often called mutations, have been
recognized and studied. However, the Universe, in its effort to seek balance,
must provide the other side to those and contain the extreme genetic variations
that follow from its quantum spiritual leaps, as well." I called it a
spiritually foreshadowed genetic event. You may recall, if you can think back to
the very beginning of this book, that Meishu-sama, designer of the Izunome
Cross, believed Humanity was presently moving from the Age of
Darkness into the Age of Light. We’ll discuss this
increase in Light further along on our present journey. But this, as well, is a
spiritually foreshadowed event, what Meishu-sama said was a physical reflection
of a change that had occurred in the Spiritual Realm. And for the past two
millennia, the Bible has taught a tremendous change was going to occur before
Christ would return to the Earth. I won’t speculate on the exact form of such
change, and whether this involves a theologically invoked "Last Judgement."
But from what we now know of the nature of energy as a range of spiritual and
physical manifestations, could the movement of Earth into a higher vibration in
the Universe be the physical mechanism for this occurrence? I’ll let you be
the judge. And why should it be any different there? For that matter, is the
change specific to where we’re moving, or an energy transformation occurring
everywhere? Regardless, whether it is to fulfill Divine Prophecy or
achieve Dynamic Stability, God and the Universe need it to be that way!